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“Let life be like music.” ~ Langston Hughes ~
As we conclude production on this issue of Americana Rhythm, we’d like to be among the first to wish everyone a happy, peaceful, and safe holiday season. And we’d like to say a really big thank you to everyone who has helped us deliver our perspective of the Americana world these past 10 years. It wouldn’t have happened without each of you. Yep - it’s been 10 years! Looking ahead, there are so many more things we want to discover and share with you, our faithful audience. To that end, we will be launching a new website in 2016, as well as bringing some added color to these pages. Our Americana Music Profiles podcast has become quite popular, and has been loads of fun to produce. Our on-line radio station, Americana House Party (on live-365), is consistently in the top 10. Although it’s getting chilly out, there’s lots of music still happening in warmer climates outdoors, as well as the indoor festivals, jams, coffee house events, and house concerts. There’s no reason for your ears to ever starve. We’ll see you out there!
Questions, comments, suggestions: greg@americanarhythm.com
PUBLISHER Image credit https://trueblueridge.files.wordpress.com
Americana Rhythm is published six times a year. All corresponCONTRIBUTORS dence should be sent to PO Box 45, Bridgewater VA, 22812 or Ed Tutwiler email to greg@americanarhythm.com. Copies of Americana Wayne Erbsen Rhythm are made available free at various pick up locations within Donna Ulisse the publication’s region. Subscriptions are available inside the United Don and Martha DePoy States (only) for $16 US currency made payable by check or money Andrew McKnight order sent to, Subscriptions at PO Box 45, Bridgewater, VA, 22812. Mark Whetzel Foreig n su bscrip tion req u ests shou l d b e sen t to Kaye D. Hill greg@americanarhythm.com. Copyright 2014. All rights reserved. DISTRIBUTION Reproduction of any content, artwork or photographs is strictly Ed Tutwiler prohibited without permission of the publisher or original owner. All Zebra Media advertising material subject to approval. Associated Dist. PUBLISHER/EDITOR IN CHIEF Greg E. Tutwiler Associate Editor Ed Tutwiler MARKETING & PROMOTION Mark Barreres (GrassRootsNetworking.com) ADVERTISING Letters, Comments, Suggestions Business office 540-433-0360 greg@americanarhythm.com advertising@americanarhythm.com www.americanarhythm.com
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By Edward Tutwiler
December 2015
Music With Your Cappucino
By Edward Tutwiler
After attending a weekend music
festival, we head home remembering our favorite acts and discussing with our fellow travelers every aspect of our enjoyable experience with no thought as to what the members of the bands might be doing next. I can not speak for every string-music band, but I can sure tell you where Lorain Jordon and members of her Carolina Road band go when the stage lights go dark. They head on back to Garner, NC where Ms. Jordon can kick back with a good cup of coffee within the confines of her very own coffee house. Loraine Jordon is often referred to as the Lady of Tradition in the bluegrass world. She grew up around bluegrass music in costal Carolina and now resides in Garner, NC just a few miles beyond the city limits of the capital city of Raleigh. Jordan is an award wining performer with 20 plus years in the music business and has been front and center with the band Carolina Road since 1998 as a mandolin player and singer; however, back in Garner, NC, she is a business woman and purveyor of good coffee as well. Several weeks ago during the International Bluegrass Music Association (IBMA) conference in Raleigh, Ms. Jordon invited some members of the media to join her for a evening of music at her coffee house, and members of the AR staff was privileged to be included on the guest list for that event. This coffee house is such a unique fusion of music, food, and fun that we wanted to know the back story of what Loraine’s Coffee House is all about so I recently took up some of her down time to find out.
The interior of the house opens up into much more that a cozy coffee house. The décor is mostly album covers and pictures of classic country artists (prominently featured are pictures of the 12 artists that joined Ms. Jordan and Carolina Roadintheir latest project, Country Grass, which features classic country artists doing classic country songs with bluegrass arrangements and traditional string instruments. Other pictures of well known personalities with autographed well-wishes for the success of the coffee house are also scattered about the walls. Offices near the front door of the house serve Ms. Jordon as headquarters for her Jordon Enterprises and for Steve Dilling who is booking agent for the coffee house stage and banjo player for the Sideline Band.
live bluegrass/Americana music in an environment that was a nonbar scene—not a restaurant but rather just a laid back place where folks could kick back with a cup of coffee or a smoothie and maybe a snack to listen to music. Years ago, I went to places like The Birchmere and The Cellar Door in the DC area where they had people come in to listen to the music. I always thought that was so fantastic.” She continued, “I was always looking around for the right place and found it here at home just seven miles south of Raleigh. There was this drug store building for sale. It was a fairly modern building so we took everything out of the inside and completely remodeled the interior into a coffee house type of place. We added some tables and chairs,
upholstered sofas and chairs, some low tables, and a coffee bar. People can come it and choose to sit where they will be comfortable and have a coffee.”
A professionally managed, robust coffee bar along one end of the building opens daily at 6:30 AM and closes around 7:30 PM whenever music is not featured on stage. It serves coffee, muffins, and deli sandwiches to folks who come in
Repurposed
Loraine’s Coffee House is located in a refurbished and reappointed former drugstore building and first opened in July of 2014. Ms. Jordon told us, “It was always in the back of my mind that someday I wanted to have a place where I could stage
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from all over with their laptops and do work, others sit around and read a book, and yet others come in and have meetings.
Music On Tap
through their WEB site , by telephone, or by purchase at the door.
Multi-Use
In addition to the coffee and the music, the coffee house has a conference room that is available to rent for meetings and private gatherings. It can hold 20 attendees and includes a big video screen for movies and presentations. The coffee house folks also hold music workshops in this space, and a local music teacher has held the recital
The focal point of the coffee house is the big performance stage along one long wall that is equipped with great sound and lighting and is replete with a green-room at stage right for performers to relax before going on stage. Ms. Jordon said, “We added a great big stage along one side. Its probably the biggest stage a cof- “It was always in the back of my fee house ever had; however a bluegrass mind that someday I wanted to band has six or seven have a place where I could stage players and they need room to perform.” live bluegrass/Americana music Not only does the in an environment that was a nonstage provide a place bar scene— just a laid back place for Loraine Jordon and Carolina Road to play where folks could kick back with when they are home a cup of coffee ... and listen to from the road (they play there at least ev- music.” ery other month) but also hosts well known classic counfor his music students in the contry and bluegrass personalities. The ference room where his students’ list of folks who have graced the parents could come listen. Further, coffee house stage reads like a who’s the main floor and event stage area who of classic country and bluegrass are available for public rental, and acts. Jordon said, “The ones who that rental can include live entercome always like the experience tainment and catered food service and want to return for another perfor as many as 85 attendees. I asked formance.” Ms Jordon if she was pleased with her venture, and here is her reply, There seems to always be some“I think I am satisfied with the cofthing happening at the coffee fee house venture. The bluegrass house. On Tuesday nights, they community is finding out about it have a local jam session and folks and coming out and being a part who play acoustic stringed instruof what is going on here. The jam ments can set in the circle and play sessions are getting really busy together. Non-pickers come in to along with the music workshops. listen to the players jam together. We’ve had bluegrass around here On Thursday nights, they have a (North Carolina area) for a long house band, and people come up time; however, we here in North on the stage with their banjo and Carolina are the best kept secret in fiddle and join in. On Fridays and the bluegrass world. We are not Saturdays, professional bands grace Kentucky but we could be considthe coffee house stage. If that is not ered the late bloomer of bluegrass.” enough, Sunday mornings find an active church worship service in In closing, Ms. Jordan has this messession each week. sage concerning the magical place she’s put together in Garner, NC, As far as cover charge and admis“It has always been a lifelong sion tickets go, normally there is dream of mine to have an estabno charge when single acts, duets, lishment where the community and local bands play—they just could come together and mingle in pass the hat. Folks wishing to ata family atmosphere. I am hoping tend the professional musical perthat this can be everyone’s home formances on the other hand must away from home and become a purchase tickets in advance either place to relax and meet and greet while enjoying the artistry of lo-
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cally and nationally known musicians. I have played music on the road all over the country for 23 years. Now, I want to come home and play in my backyard.” If you ever find yourself in Raleigh, NC, you owe it to yourself to make the short drive over to Garner and check out this special place. It is easy to find: from I-40, take exit 298A and go south on US401 to US70 toward Garner; turn south on Timber Dr.; and travel to 101 Timber Point Lane (call 919- 714-7990 for guidance if you get lost). Loraine Jordon’s Coffee House is open weekdays: 6:30AM–7:30PM; Saturdays: 8:30AM-7:30PM; and Sundays: 10:00AM - 4:00PM (closed during the worship service that starts at 10:30). On event nights, the closing is pushed out until 9:30PM. You can call the coffee house at (919) 714-7990, and for information about the music and
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Country legend Eddie Raven showed up the night we were there - he will be touring with Carolina Road next year.
events, you can call (919) 779-5672. You can also point your computer browser to www.lorainescoffee house.com. Also, to find out more about Loraine Jordan and Carolina Road, go to www.carloinaroadband.com web site for bios and tours dates.
December 2015
Along
It’s Jammin’ Time the Shenandoah Music Trail
burgers, all sorts of people mixed together, all ages, and lots of Fun: Marino’s Lunch, 901 N Augusta St., Staunton, VA (540) 885-0818
By Don Depoy, Phd.
F
estival season is winding down, and we are settling in for the fall jams and indoor music series. If you are visiting or traveling through the Shenandoah Valley, there are weekly jam sessions about every day of the week. All of these jams are free and open to the public. Listeners and pickers welcome, of course. As a picker, if you feel uneasy being in the jam “center-stage” you always have the option of lurking in the back of the jam. As with all good jams, the key to a successful time is to be respectful and enjoy the moment.
Tuesday 6 - 8:30pm – Elkton – Bluegrass Jam – If you like high level, high energy, straight ahead bluegrass, this jam’s for you. Everyone is welcome to join the circle. However, this jam is not for the meek. It is the best example of traditional musicians practicing their instrumental and singing artistry that dates back many generations to the early settlers of the valley. Elkton Community Center, 20593 Blue and Gold Drive. Elkton, VA; Just off Route 340 behind the Pizza Hut. (540) 2093540
Monday 6 - 9pm – Harrisonburg – Private community Jam (by invitation only)– Low key and mostly slower paced circle jam, traditional country, gospel, and folk. This is a perfect jam for beginners who can tune and play in time and intermediate players. To set up a meeting before the jam for the evening, call 540-209-3540.
Tuesday – 9 - 11pm – Staunton – Marino’s Jam – A robust acoustic jam ranging from bluegrass to old time to country to western swing to whatever; depending on who shows up. It has been going on for over 35 years in a funky little family run honky tonk restaurant. There’ll be lots of singing, some instrumentals, often as many musicians as listeners crowd in, great
[Wednesday – No jams – Wanted someone to host a weekly jam in the Harrisonburg area.] Thursday – 7 - 9:30pm – Grottoes Jam – This jam is set up as a stage show and well attended. The picking level is intermediate and experienced. Jammers swap songs with several microphones for instruments and vocals. The song selection is traditional country, bluegrass and gospel. The last Thursday of each month, a featured band entertains the crowd from 78pm, and that is followed by jamming. Otherwise, it’s nonstop jamming. Snacks and Drinks are available. Grottoes Community Center, 601 Dogwood Ave., Grottoes, VA (540) 2093540 Friday – 7 - 9:30pm – New Market Jam – This is the Valley’s oldest jam. For over 36 years it has been a great place to listen to some of the best pickers with a full range of talented musicians. This jam is set up as a stage
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show and well attended. 50/50 Raffle, Snacks and Drinks. New Market Community Center, 9184 John Sevier Rd., New Market, VA (540-209-3540) Friday – 7 - 9:30pm – “Spike” Jam Sessions – Named for the late “Spike” Stroop. This is a low key circle jam frequented by some great players. Good for all levels of musicians. 50/ 50 Raffle, Snacks and Drinks available. VFW Hall at Chimney Rock, 14550 Runions Creek Road, Broadway, VA (540-434-5491) Saturday – 2 - 4pm – Old-Time Music Jam – This is an Old-Time music jam, (Very different than bluegrass) with some of the Valley’s best musicians. Featuring the mountain dulcimer, fiddle, claw-hammer banjo, mandolin and guitar. It’s a great place to pick or listen: Braithwaite Studios Art Gallery & Gifts, 415 Mason St., Dayton, VA (540-879-2110) There are also once-a-month acoustic music jams as well as music stores that have regular impromptu jam sessions. A listing of these and other music events are detailed on the Shenandoah Music Trail Brochure found at www.meandmartha.com or you can call for more information 540-2093540
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Life continues to teach me how to write songs with every breath I take these days. I don’t know if it’s my age or being so tuned into my thoughts and surroundings because of my songwriting, but I am more aware and consciously choosing to stay in a state of gratitude and awareness. By making that effort as much as I possibly can, I am also in a place that keeps me ready to write songs. It’s a beautiful, creative cycle. I was recently asked to co-write with someone I have greatly admired for years. He emailed me from out of the blue and I was jumping up and down as I tried to type back an available date to write. Of course, when I snapped out of my initial excitement, I had already sent the reply (gulp) when fear and doubt kicked in and ruined the mood. I started wondering if I was a good enough songwriter to write with this Grammy award winning, smash-hit writer who shall remain nameless. Whew, stress, what would I do without it? I drove my poor husband crazy with my worries. He patiently said time and again that I was going to write a great
song with this guy and he didn’t know stomach full of butterflies, made my why I was freaking out. Of course I way to the car. We were to write on was fretting that this writing famous music row in Nashville so that appointment would be the one time I meant getting on the interstate, which would be struck speechless and is always scary for me. Just as I thoughtless - not one teeny song idea cranked the engine, the skies opened would surface and redeem me in front up, and the rain started pouring. The of my hero. I gas tank was on was hoping I empty and my would not be an “I was hoping I would not nerves were on utter failure. I be an utter failure. I overdrive. This started thinking started thinking of a wasn’t starting of a “plan B” if well. Thankfully, I “plan B” if this should allowed time this should happen. Maybe happen.” enough for such just once I random acts and should be quiet, made it to the and stoic to wait to see if this writer publishing office right on time but I could come up with an idea. That way was the only car in the parking lot. I I could meekly contribute to his great started panicking, thinking I had the song. YES, that’s what I would do. wrong day written down for the (whew). Suddenly I felt better, less appointment. I checked my phone and weighted down with the responsibility saw a text from the writer saying that to come up with the initial idea for a he was sorry but he would be running song. late. I don’t know why that made me feel better but it did. He was so late I waited for the day to arrive for the that I had a chance to write about a half a song that I was really digging writing appointment like I was waiting before he got there. He was flustered for my execution. Finally, the morning and very apologetic as we made our came and I packed all my writing tools way into the writing room. I, on the into my brief case and picked up my other hand, was suddenly feeling guitar, put it in my gig bag and with a
A Life Of Sorrow
By Edward Tutwiler
In 2006 (in the March/April issue) we told you the tragic story of Carter Stanley of The Stanley Brothers fame and added a side story about how his daughter was keeping his legacy alive by writing and performing a tribute album about her farther as seen through her loving eyes and that might have been where the story ended; however, when I was looking at the fall schedule for the Floyd Country Store in Floyd, VA, I noticed they had scheduled a one-act play about Carter Stanley. I made a mental note to slip down to Floyd and check it out but while in Raleigh for the
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IBMA conference, I noticed that very play was to be performed at the City of Raleigh Museum. Remembering the story we wrote and knowing that Carter Stanley was a very expressive singer and prolific songwriter who Bill Monroe once called the best natural lead singer that he had ever heard sing; of course, I had to slip on down and check it out. In the early days of the bluegrass music formation, Carter and his brother Ralph Stanley wrote songs and made early recordings that set standards that many oth-
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confident. As he made coffee, I took out my guitar and started noodling out the melody that was in my head to go with my partial lyric. Guess who loved it and wanted to help me complete it? Yep, my hero! My husband LIVES for these moments when he is the one to finally say, “I told you so”. The song turned out to be a good one and I received the sweetest email from the co-writer expressing interest in penning another song with me. Funny how things can turn on a dime. After reflecting on this experience I had to chide myself on my total lack of confidence. I love to write, and I know that some co-writing teams do not work out. Fear has never done anything positive for me as a writer but I let it get hold of me leading up to this writing appointment. On the other hand, gratitude always helps my spirit. So, my lesson in that moment was to not lose sight of what I know to be right for me, to stay in a state of gratitude and awareness and trust in my own creative process
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ers followed to their own path of fame (including his little brother Ralph). Now gone for 50 plus years, Carter’s legacy is largely faded from memory. That is why this play titled, A Life of Sorrow, permits bluegrass music fans of today a chance to connect with one of the founding fathers of a musical genre that reaches international audiences. A Life of Sorrow is a one-man play that combines songs by Carter Stanley interspersed with word monologues, told in first person and in character by the actor, to detail Carter Stanley’s tragic and short life. The play is the creation of Gary Reid of Roanoke, VA. Mr. Reid is a historian and bluegrass continued on page 13
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December 2015
Sideline Success
By Greg Tutwiler
According to Webster’s dictionary,
put it. “We went full force from there.” Jason, Steve, and Skip formed a partnership, and Sideline officially became full line. “T hat was actually just a little over a year ago,” Jason added. “We went from 30 dates last year to 80 this year (2015),” Steve said. “We’re blessed, really,” Steve said. “Some full time bands don’t even work that much. But the three of us have done this for so long, and we have a lot of connections, and contacts, and friends. So we’ve used that to our benefit.”
one meaning for the word sideline is “a job that is done in addition to your main job.” For the guys in the band Sideline, that’s exactly what it meant, at least in the beginning. But now, for Steve Dilling, Jason Moore, Skip Cherryholmes, and brothers Brian and Nathan Aldridge, it’s sideline no more. “Sideline sort of turned into full line somewhere along the line,” quipped co-founder and banjo player Steve Dilling, as we sat down recently at IBMA to talk about this relatively new, and certainly up and coming bluegrass band. A veteran musician himself, Dilling got started in the mid-80s in a regional North Carolina band called the Bass Mountain Boys. From there he spent about six months with the Lonesome River Band before landing a more permanent gig with Russell Moore and IIIrd Time Out in the summer of 1993. Although he left that band in 2013, Sideline had already become a “side” venture for Steve and several other musicians, and a way to play when their main bands were off the road.”
Pieces Coming Together
“It started about five years ago,” Steve said. There have been different configurations of the band. Guys like Darrell Webb, Adam Steffey, John Chapman, and Ron Stewart all sat in with them at times but it kind of started settling in when Jason came on board. Jason Moore got his start playing with the legendary James King from 1993 to 1999. He participated with two Michael Cleveland projects before joining the acclaimed Americana/bluegrass band, Mountain Heart, where he toured until he joined Steve and Sideline in 2014. An accomplished session player, Jason has appeared on nearly 100 different studio projects and has produced two others.
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The third partner in the trio, Skip Cherryholmes, played guitar for the famous traveling family band, Cherryholmes for almost 13 years until they decided to disband in 2011. In that time, they won the 2005 IBMA Entertainer of the Year award, and were nominated for numerous awards including five Grammys. He was playing with Lou Reid and Carolina before finding his way into the Sideline family, literally. “My daughter and Skip got engaged, and he move here to North Carolina,” Steve said. “So naturally I wanted to pick with him. We knew we had a foundation of something that felt really good. So we invited Brian Aldridge and his sixteen year old brother Nathan, sons of long time Carolina musician Mike Aldridge, to round out the band. Those guys are both very
talented musicians from a long musical background.”
Hitting The Stage
The guys got booked for their first bluegrass festival while they were still in other bands, but it was encouraging, and they started thinking about booking some additional dates. Steve had recently left IIIrd Time Out due to some health issues. “I just needed to stay close to home and get my health straightened out,” Steve said. “We decided to record a CD so we could have something to sell at the few gigs we already had booked. That CD did pretty good, and things just really took off after that.” Jason was ready to make a change and he wanted to work for himself after years of working for someone else. The success of that first CD was enough to “go for it,” as Steve
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Jason said that the whole thing wasn’t even super intentional until about six months ago. “I was kind of done,” Steve said. “I was happy with 30 dates a year like we did last year.” Steve had gone to work for Jordan Entertainment, Loraine Jordan’s business, and thought he had settled into a day job. “She’s very understanding and supportive,” Steve said. “She even said, ‘I knew you would never quit. It’s in your blood.” “We had to let that run its course,” Jason quipped. “Then the bug started getting at him again.”
Doing It Differently
Steve was finally getting healthy again and the band was really starting to click. The challenge now would be to keep it from getting out of control on the other end. “The goal is if we can do the same amount of work in two or three weekends a month instead of four, then we still get to have time at home,” Skip said.
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“For so many years, all of us worked all the time. I joke on stage that Skip, with the family band practically living on the bus, worked 600 days a year,” Steve said.
families,” Steve said. “We get a big beach house at the Outer Banks for the St. Patty’s Day festival in Manteo. We play in the parade and then hang out at the beach for a week.”
“Our family would leave at the end of August and not come back until the first week of November,” Skip told me. “You could do that then because you’re with your family. You’re not leaving anybody behind. But I couldn’t do that now.”
“As long as we continue to do things like that, this will stay fresh and we’ll keep having fun,” Steve said. “You know, this business is hard on your wife and family. My daughter is married to Skip. She was raised with me being gone, and now she has a husband on the road. She’s a veteran, she knows how to deal with it, and still it’s hard.” “I’m very blessed because of her understanding,” Skip added.
“For 17 years, we played every weekend accept the month of December, Easter weekend, and one week in July,” Steve said, “when
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I played with IIIrd Time Out. For Sideline, we’ll work heavy for three or four weeks, and then take a couple weeks off. And if one of us wants to be off down the road, we just bring it to the band, and then we’ll schedule around it. It keeps sanity and relationships in tact that way.” Liking who you play with is important too of course. “We’ll have these two weeks that we’ll work, and then we’ll take two weeks off. But there’s going to be some kind of reason, either the three of us, if not the five of us, that we’ll end up calling each other during the break,” Skip said. “We actually miss one another,” Jason added. “We enjoy playing together,” Steve said. “We have a family atmosphere too,” Jason said. “If you want to bring your wife, that’s fine.” “We even vacation together with our
The Long Run
“2016 looks ever stronger too,” Jason said. With the second CD currently in circulation, Session II, they are working on their third, initially titled Session III, set to be out sometime in early 2016. While the band doesn’t currently write their own material, they do have a lot of new songs collected from some very good songwriters. Of course there are few covers including an old Johnson Mountain Boys tune that will feature Dudley Connell as a guest performer. So the future looks solid for Sideline. “I hope this is my last band,” Jason said. “This is my last run at it,” Steve said. “I’m in my 32nd year on the road, and I think this is a great band to finish out my career with, whenever that it is,” he quipped. “We’ve got something good here ”
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December 2015
A Passion For The Craft
Perhaps you’re lucky enough to
listen to WAXM FM Bristol TN, “The Bluegrass Show” every weekday from 3:00 to 6:00 PM. Or maybe you’ve tuned into the popular public television broadcast series, Songs Of The Mountains on PBS. Or, perhaps you get your fix by listening to the syndicated radio show, The Tim White Bluegrass Show, on one of 60 plus radio stations across the country. Regardless, the voice you hear is none other that of Tim White.
I first met Tim a few years ago at an event in Virginia where he was co-producing a music gathering called Acoustic Uprising. Although our paths had crossed professionally a few times prior, it was at this event where I became acquainted with the rest of the story. What fascinated me and eventually brought us to this conversation is the diversity that encompasses Tim’s professional life. On many occasions, I have found myself in conversations where artists have expressed their frustration over how tough it can be to make it in this music business. I get it. There’s lot’s of competition for a smaller number of performance opportunities. But somehow Tim (and other folks like him) have found a way to carve a niche’ in this industry that affords
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them the ability to “make a living” doing what they love.
Mixing It Up
Upon posing that question, Tim’s immediate response was, “It takes more than talent – you have to have business savvy too. I’ve seen way too many talented bands starve because they didn’t understand the entertainment aspect, or how to run their band like a business. Unfortunately, talent alone doesn’t book you gigs. If you don’t understand that side of it, at least invest the money and hire someone who does.” For Tim, being content at just playing music was never enough. It was a passion that led to a life immersed in music. Tim grew up in Roanoke, Virginia watching Don Reno and Red Smiley on the Top of the Morning Show as a kid. “That kind of planted the seed,” he said. “I remembered seeing Author Smith and Flats and Scruggs. And even though I listened to rock and roll in high school in the early 70s, when my family moved down to Bristol, TN in 1974, the music there was different, and I realized I wanted to learn more about it.” So he got his hands on a cheap banjo and started learning how to play. “My dad realized that I was starting to get pretty good at it,” he recalled, “so he bought me a real good Gibson banjo for my 19th birthday.” He started learning about the history too, and places like the Carter Fold and where all this music came from. “I’ve always enjoyed the history behind this music,” he said. And as the journey goes, he eventually opened a sign shop, which led to an opportunity to paint a mural in downtown Bristol. If you’ve been there, you’ve likely seen it. This year marks the 30 year anniversary of that painting. “I didn’t really plan it that way, but I always believe that
By Greg Tutwiler
action creates reaction,” he said. “I didn’t plan on doing all this stuff. I just had a passion for it like everyone else that gets into the music business. We never get into it thinking ‘oh, I’m going to get rich,’ I really have a passion for it. And that’s what drives us all.”
and solicit stations – they just seem to find me. I have some AM and some FM stations. We’ll lose a few now and then; that’s just the nature of radio, but we’ve maintained around 60 for a few years now.” Additionally, Tim
Behind The Mic
Tim got his start in radio back in the early 80s from a guy named Joe Morrell. You may not know that name but it’s likely you know what he’s famous for. If you’ve ever traveled north/south on interstate 81 through Bristol, VA/TN you’ve probably seen what’s left of a giant guitar along side the road. In 1983, after years of planning, Joe built and ran what he called the ‘world’s only guitar shaped music museum.’ The 70 foot, three story structure (now empty and deteriorating) was home to the museum for many years. Tim said that Joe had acquired a small radio station soon after opening the museum, and asked him do a radio show. “He knew I had a bunch of bluegrass records,” Tim recalled. “So I took my collection down to the station, and that is where I started my first bluegrass show. I did it for free – I just wanted to get a chance to play
my records,” he said. Joe approached Tim about two months later and said ‘if you sell ads on your show, I’ll give you half.’ “Well I liked that,” Tim said. “And I’ve been in the radio ever since.” All of that eventually led to a syndicated two hour program that is now aired on over 60 radio stations across the country called The Tim White Bluegrass Show. “To be honest, I don’t really go out
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hosts a live broadcast from downtown Bristol (WAXM-FM, 93.5) six days a week from 3:00 PM to 6:00 PM Monday through Friday, and 9:00 AM to 12:00 PM on Saturdays. That show is also streamed live on www.TopGunRadio.com.
On The Stage
Adding to the diversification, Tim has also been the host of the widely acclaimed Song Of The Mountains PBS telecast since it’s inception in 2004. “I was approached to help with a project to bring the Lincoln
Theater, in Marion, VA back to life,” he remembered. Built in 1929, the theater had been sitting idol for quite some time. “Actually, it was about ready for the wrecking ball,” he said, “but the people of Marion couldn’t stand to lose such a big part of their heritage. The folks behind the renovation knew I was putting on a bluegrass/Americana show and asked if I would come over and help stage something like that as part of the restored theater.”
December 2015
That show was initially aired on the three local PBS outlets out of Roanoke VA. At the conclusion of the first season, they were being broadcast on 33 different public stations. “And now, in our 11 th season we are on over 180 PBS affiliates across America. Song of the Mountains now reaches over 21 million households and 52 million people annually,” Tim said. www.SongsOfTheMountains.org While all of that sounds like enough to keep any one of us occupied, there’s more. For the past two decades Tim has fronted several bands including his current project, the VW Boys with fellow musicians Dave Vaught and “Fat” Albert Blackburn. The VW Boys feature a combination of music, magic and comedy. “I believe in laughing,” he said. “It’s great medicine for the soul. And we get to do a lot of corporate work because of our approach. We’re not pigeonholed into one thing. I can put down the banjo and pick up a guitar and we can become an Americana band. Now we don’t have to bill ourselves exclusively as a bluegrass band – but we can turn au-
diences onto bluegrass that would probably never buy a bluegrass CD. I’ve seen it work. People will come up to us after a show and ask us about the music we were playing. They’ll say, “that was really good, what is it?’ We get to be ambassadors of bluegrass music that way, exposing new audiences to this music.” Tim’s interest in music history has not gone to waste either. He recruited others of like interest to help organize the Appalachian Cultural Music Association www.appalachianculturalmusic.org where he currently serves as president. The ACMA also helps to support the Mountain Music Museum, which Tim helped found, in 1999. The museum is dedicated to preserving the heritage of the music which was born in the Southern Appalachians. “When you do what you love, it doesn’t feel like work,” Tim said. “I feel blessed to get to do this every day. I don’t think about it as being busy ”
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Sorrow
Continued from page 8
enthusiast and has been for over 40 years. He is regarded as the foremost authority on Carter and Ralph Stanley, and recently released a deeply researched print book titled, The Music of the Stanley Brothers, which traces the 20 year recording history of The Stanley Brothers. In the process of research and writing the book, Reid conceived the idea of putting together a oneman play about Carter Stanley. To that end, he took two semesters of acting at Virginia Western Community College to prepare himself. Prepare well he did as I found Reid’s A Life of Sorrow to effectively capture the sadness that was Carter Stanley and he does that by reciting sad and poignant anecdotes and soulfully singing songs written by Carter and other meaningful public-domain old time period songs.
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In addition to his one-man show, Gary Reid has appeared in more than 60 productions and events at regional community theatres as an actor, producer, and stage manager and has appeared in several short films and commercials. He is a three-time recipient of the International Bluegrass Music Association’s award for Best Liner Notes and is a co-author of the recently released book The Bluegrass Hall of Fame Inductee Biographies 1991-2014. If you are a fan of those old original bluegrass pioneers and the music that they produced, you will enjoy this one-man show and should not pass up a chance to see it. To find out when the next production will be held or to host a performance of A Life of Sorrow, you can contact Gary Reid at: PO Box 13413, Roanoke, VA 24033; telephone or text (540) 982-6900; or email CopCrk@gmail.com.
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December 2015
Thanks to our partnership with ReverbNation (www.reverbnation.com) we are honored to give you a peak at a few of the nation’s hardest working indie artists. Each month we select one entry to showcase for you here. Enjoy! THIS MONTH’S FEATURE:
By Greg Tutwiler
Scott Parmer
FEATURE ARTISTS
Scott said he chose the name Songcatcher because, “it best represents who I am. I bleed music. When I am out and I hear even faint music in the background, my brain kicks into determining what the song is and who the artist is. Thoughts like, ‘Can I play it as a cover, and who in the room is reacting to it,’ race through this music crazy head of mine. I also feel I have a knack for knowing when to play just the right song at just the right time based on mood, atmosphere and emotional state. I could probably make a pretty good living being a top notch DJ, but I can’t bring myself to do so, playing someone else’s music,” he said.
Singer/songwriter Scott Parmer hails from Lancaster, PA. While this lead vocalist/front man is also an established drummer and guitar player, his current pursuit is “becoming a top shelf lyricist and songwriter.” Scott’s original material has been gaining high marks from listeners all across the folk/ Americana scene as well as all age ranges. And his opening act credits include regional favorites as well as acts like the nationally know icons of rock, Cheap Trick. Scott grew up in a house filled with music. He remembers his mom singing with many people comparing her to the late great Patsy Cline. “My older brother sang too,” Scott recalled, “in many of the local popular dance bands while I was growing up. He had an incredible voice a was huge inspiration.” It wasn’t long before Scott realized that he had the gift of singing as well and began immersing himself into music. His first gig was playing drums and singing at the age of 15. “The drums were a natural for me,” he said. “I was constantly tapping out every song I would hear on the table, dashboard, or just about anything that gave me some percussive response. However, I have always had the desire to create my own sound, and to do so, I had to learn how to play instruments that created some melody.”
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take into account time and size limitations on a CD. I had to make a cut down to about 15 songs to make them fit or else produce a double CD which I really didn’t want to do. It was extremely difficult to decide which songs would make the cut and which ones were going to have to be on a future album.”
Consumed
Upside Down
So he picked up the guitar and slowly began teaching himself how to play. “Of course I did not realize I had picked up a right-handed guitar and learned to play it upside down,” he mused. “I can’t tell you why, it just felt comfortable that way to me, even though I am not really a true left handed person. Funny thing is I never switched the strings. So to this day, I still draw stares from fans and guitarists when they realize my guitar is not strung traditionally. My strings are upside down,” he said. “I am my own man.” Scott recalled the first time he got to open for a national act and play some of his original songs. “When
we opened for Cheap Trick it was a packed house,” he remembered. “I was playing drums and singing lead in a very talented trio called Tower. When the crowd began to chant, ‘Tower, Tower, Tower, over and over, I was hooked. I knew that I needed to devote the rest of my musical career to composing original songs, perfecting my style and getting my songs out there for the people to hear.”
“Quite simply, I now have the undying need to create and perform music. I am consumed by it. I breathe it. It is the essence of my soul. I feel God has blessed me with this gift for a reason. So I am now hell bent on sharing it with as many fans as I can as long as I am capable. I hope that my songs, in both studio and live shows, can bring pleasure to their ears and give them goose bumps ”
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All Original
Scott just released his new project called Songcatcher. “Funny; when I mixed everything down and was ready to send off for mastering and CD manufacturing, I had 25 songs in the can and ready to go,” he said. “I was very excited. But reality set in pretty quickly, because I didn’t
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www.ScottParmer.com
I Like It Like That
The more things change, the more
they stay the same. I’ve heard this
quote since I was knee high to a grasshopper, but never really understood the meaning of those words. Recently I was asked if I thought bluegrass music was changing, and I began to ponder what bluegrass was years ago, and how it may be viewed today.
Qualified Observer
Admittedly, I’m now an official “senior citizen” so I’ve had the opportunity to enjoy many of the true bluegrass pioneers. I remember going to festivals as a child, watching men dressed in suits and ties gather around a single microphone, and sing many of the same songs as other bands. There were the same five traditional stringed instruments in the band: banjo, fiddle, guitar, mandolin, and upright bass. I grew up learning the words to the familiar songs – “Cripple Creek,” “Fox on the Run,” “Are You Missin’ Me,” “Bringin’ in the Georgia Mail,” “He Will Set Your Fields on Fire,” and “Hot Corn/Cold Corn.” Of course, it wasn’t unusual for a band to finish their set with the always popular “Orange Blossom Special.” The bluegrass festivals of that era were not always familyfriendly. I don’t even remember folks bringing their own chairs! We sat on blankets and ate packed lunches brought from home while we enjoyed the music, but had to leave before dark because the crowd sometimes turned “rowdy” later in the evening. Today’s bluegrass festival is a much larger, organized event with numerous food vendors, and tents where fans can go to purchase tshirts, CDs, pictures, and even meet their favorite performers. Security is always present, use of alcohol in the concert area is prohibited, now staff usually needs to set up two microphones; per band member. While bluegrass bands stay true to the acoustic instruments, it’s not unusual now to see an occasional resonator guitar adding it’s unique sound to the blend.
December 2015
By Kaye D. Hill
While those bands who are playing traditional bluegrass may still dress in suits/ties, many more contemporary bands arrive on stage wearing blue jeans, flannel or tshirts, tennis shoes, and an occasional baseball cap.
With many of the more wellknown bands now signing contracts with recording companies, they are required to release new music so fans are treated to an hour of entertainment that is always exciting to hear for the first time. After the shows, fans are encouraged to purchase CDs to take home (not the same vinyl as we had years ago!) or they can always order a bands’ music online, sometimes downloading only the songs they actually want to add to their personal library.
Keep An Open Mind
It’s important for us bluegrass fans to remain open-minded about this genre of music. If we only allow ourselves to listen to traditional or “roots” music, we become stagnant and miss so much good talent. We need to remember that every bluegrass musician, at some time prior, has heard the old songs that we grew up with, and they too fell in love with them. That’s why they wanted to play bluegrass - to keep the old-timey tunes alive, but yet add their own style to some new ones. Even the more contemporary bands still get a hearty round of applause when they play the older, more familiar tunes, and occasionally even attempt “Orange Blossom Special,” and do a fine job on it, I might add.
A copy of the poster from the first bluegrass festival held in Fincastle, VA in 1965.
a festival years ago and I fell in love with it. Occasionally, I would think ‘that’s not bluegrass,’ but it is. It’s just bluegrass with a different twist
than what I grew up with. It’s still the same acoustic instruments that made me fall in love with bluegrass music. We need to open ourselves up to the many changes in the bluegrass world. The performers may be younger, their attire is certainly different, but they also learned to fall in love with bluegrass by listening to the same legends we knew. Every one of them is familiar with the Stanley Brothers, the Osborne Brothers, Bill Monroe, Little Jimmy Dickens, Lester Flatt and Earl Scruggs, and all the other greats. If we listen closely, we can still hear some part of that original sound in today’s groups. Bluegrass IS changing, which is a good thing. But it’s still the same as it always has been – a wonderful genre of music that makes us all happy. Yep, “the more things change, the more they stay the same,” and I like it like that. Hope to see you at a festival down the road. Kaye D. Hill lives in Harrisonburg, VA, and is an advid bluegrass fan. She has been a friend to Americana Rhythm Magazine since we began. So happy to have Kaye write another one of her famous articles for us!
To me, bluegrass music means memories. Many times when you hear a particular song, it evokes a memory of a time long ago when you first heard that song played, or you remember meeting the original songwriter or artist who recorded it. Recently I heard Peter Rowan’s “Midnight Moonlight” played on the radio, and I smiled, because it felt like I was meeting an old friend. I had the pleasure of hearing Peter Rowan, Tony Rice, and Tim O’Brien sing that tune at
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December 2015
By Wayne Erbsen
The Quack While working on a recent fiddle book, Bluegrass Jamming on Fiddle, I was reminded that “life just ain’t fair.” Not to fiddlers, anyway. Bluegrass guitarists proudly display their “boom-chick.” Banjo players strut their “vamp” or “chunk.” Mandolins show off their “chop.” Basses seem content to stay in the background with their “thump, thump, thump.” But what do fiddlers have? Only the dreadful sound of squeaks and squawks. If you ask me, fiddle players need a word to describe what they do when they’re making the percussive sound of the off-beat with their bow. When I listen closely to a fiddle player using this technique, it sounds almost exactly like the quacking of a duck in heat. So I propose calling this backup technique “the quack.” It can be used as a noun, as in “That fiddle player can sure lay the quack to it.” It also makes a terrific verb, as in “Oh my gosh! He’s quacking on the down-beat.”
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If you’re a beginner or clueless fiddle player who actually wants to learn to quack, stick with me close here. The quack is nothing more than a short rhythmic bow stroke on the strings that produces a percussive, yet harsh sound. Why would a fiddle player want to produce such a harsh sound? Because it is a sound that will cut through the din and clatter of a loud bluegrass band. Let’s try it. Tap your foot in a steady “tickTOCK” or one-TWO fashion. As you’re tapping, say out loud “one” when your foot hits the floor and “TWO” when your foot comes up. When you’re able to do that, tap your foot again, but this time remain silent on the one but say “TWO” when your foot comes up. So you’ll be going “tap TWO, tap TWO.” Practice that until it becomes easy as pie. Using only a very short bow stroke, strike the D and A, or the G and D strings with the end of the bow closest to the frog. Play only on beat TW0 as you continue to tap your foot. After
you hit the strings with a quick downward bow stroke, lift the bow off the strings. Your goal is to kind of smack the strings with your bow to produce a quick percussive sound. (We’ll call this the “quick quack”). While you are doing this, the fingers of your left hand should be resting on all the strings to mute them. Note: the mandolin’s chop is also called a “bark,” so make sure your quack and their bark are in sync. TIP: A good way to practice your quack is to play a recording of a good slow or medium-paced bluegrass song that’s in 2/4 or 4/4 time. With your left hand, wrap your fingers around the fingerboard of your fiddle so all the strings are mutted. Fire up the recording and tap your foot to the music, saying or thinking “one-TWO, one-TWO”. After you’ve got that down pat, just quack on the TWOS, while you mute the strings. Once you can quack along with a recording, try singing a familiar bluegrass song while you quack your fiddle. It’s not hard. Quacking in Waltz-Time: When you want to quack on a tune in waltz-time, such as “Kentucky Waltz,” or “Tennessee Waltz,” you’ll need to count ONE-two-three, ONE-two-three. Remember that the ONE is silent and
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you would quack only on two and three, so it would sound like “ONEquack-quack, ONE-quack-quack.” Quacking on Chords: Besides muting the strings with the fingers of your left hand, you can also quack on twofinger chords or double stops. Be sure to use chords positions that use at least two fingers, rather than playing open strings. To tell you the truth, muted strings produce a good quack and get the job done without bothering to play chords at all. So have fun quaking away on your fiddle. Wayne Erbsen has been writing, teaching, performing, recording, and broadcasting bluegrass music since 1962. Write or call for a free catalog of bluegrass instruction books for bluegrass and clawhammer banjo, fiddle, mandolin and guitar as well as bluegrass and gospel songbooks, and recordings from his company, Native Ground Books & Music, 109 Bell Road, Asheville, NC 28805, (828) 299-7031, e m a i l : ba n j o @ n a t i v e g r o u n d . c o m www.nativeground.com You can listen to Wayne’s radio show, “Country Roots,” Sunday afternoons, Eastern Standard Time time from 7:009:00 PM by logging on to www.wcqs.org. Now in its 28th year, “Country Roots” features traditional bluegrass and old-time music.
December 2015
Listen to the expanded interviews at www.spreaker.com/show/ americana-music-profiles, or search Americana Music Profiles in iTunes!
Sugar Lime Blue
Shotgun Holler
Sugar Lime Blue packs a strong Americana punch with their CD, Move That Earth. Led by sultry vocalist Ashley Beth, the quintet from Lebanon, TN is making strong end roads in the Americana/Roots music scene all across the region.
Booneville, KY is home to the up and coming bluegrass group Shotgun Holler. Their debut album, Loaded, leaves no doubt, they are five guys bent on gentlemenship as well as musical mastery.
Ashley is joined by, David Beth on lead guitar, Russ Dean on vocals, Eric Campbell on drums, and John Simpson on steel guitar. Tiffany Daniels, of The D r u n k e n W e r e w o l f commented recently, “The sultry lick of guitar and Ashley Beth’s vocal on the new Sugar Lime Blue track “Move That Earth” will suck you into a world of salty earth, country music and mystif yingly good instrumentation.”
With an appearance on CMT, a n d quick airplay a tt ention to their early release, version of the Guy Clark/Darrell Scott tune “Out in the Parkin’ Lot,” Shotgun Holler has even garnered a Track by Track feature on SirusXM with program director, Kyle Cantrell. “Shotgun Holler is bringing bluegrass a freshness I haven’t heard in a long time,” Cantrell said. “This is the sound that will help take the music to the next level.”
The band draws from three main Americana styles of music including Jazz, Blues and Country, to craft their uniquely catchy sound. Whether you like Classic Rock, Traditional Country, or something in between, you’ll likely find yourself digging the tunes from Sugar Lime Blue, which not only include well thought out originals, but interestingly arranged covers of some of your favorite classics from folks like Otis Redding, Al Green and Bill Withers. Their jam band style is reminiscent of groups like Little Feat and the Grateful Dead. In 2011 Jessica Drake of the Murfreesboro Pulse wrote, “Sugar Lime Blue has been praised heavily … most often for an authentic, blues-heavy song craft and Ashley Beth’s full-bodied bluesy lilt to match.” Jayson Kohl “The Eggman”, of radio station WSCA said, “Ashley Beth would make Edie Brickell drool, (and) Dave’s guitar licks often resemble the bluesier Clapton or the lessLatin Santana, with a slight possession by the ghost of Jerry Garcia.” One catchy practice to make note of; the band had been getting together on Sunday afternoons recently to make a “shout out” to a special friend or fan. They jam on a familiar tune by recording it on video, and sending it out to one of their lucky followers. It’s a great way to catch them “unplugged,” up close, and personal.
To find out more, visit www.sugarlimeblue.com
Their unique spin on Miley Cyrus’ hit song, “Wrecking Ball” earned them that appearance on CMT’s The Josh Wolf Show. Americana artists cover hit songs all the time, but it’s a brave move to grab one from the Top-40 charts while it’s still in play. And to their credit, Shotgun Holler did it fine justice for sure. It’s fun and playful while showing off nicely the fine talents of Matt Jones (Guitar, Vocals), Shawn Brock (Mandolin, Vocals), Nathan Treadway (Banjo), Rod Lunger (Bass, Vocals) and Alex Benefiel (fiddle). You can’t go wrong with a producer like Jim Van Cleve either, and he shows his talent for helping great musicians sound that way with his work on their inaugural project, Loaded. Matt Jones penned three originals for the project, along with eight other carefully selected cuts, including their own version of the classic, “My Bucket’s Got A Hole In It.” “We don’t really fit the typical bluegrass mold of today,” Shawn Brock said. “Instrumentally we are pretty recognizable as bluegrass. We’re using the traditional bluegrass instruments (but) where we tend to cross into other areas with the material that we choose, which can be very non-traditional.” That’s okay. Fans seem to like it that way.
To find out more, visit www.shotgunholler.com
www.AmericanaRhythm.com
Husky Burnette Brian “ Husky” Burnette’s “preaches” his brand of music with a gritty, soulful, groove that’s southern, lowdown, and raw. Hailing from Chattanooga, TN, Husky comes from a long line of musical genes, including the noted rockabilly kings Johnny and Dorsey Burnette. He’s been playing guitar for 26 years but music really got serious for Husky he said, “by chance, by being at the right place at the right time.” He was dating Roger Allen Wade’s daughter. Roger is a folk/country artist, also from Chattanooga, TN, and invited Husky to play lead guitar for him. “That was my first real paying gig,” he recalled. “That really opened up for me the possibility of playing music for a living.” “My uncle got me into the blues, but all my buddies were either into metal or rock and roll,” he said, “anything but the blues. So I would come home from school and play the blues in my bedroom. I did a lot of playing along with the radio. The local college, UTC, had a radio station and every Wednesday they would feature the blues, so I did a lot of playing along to that.” The fruit of that today has been called hill country blues with rock and roll. “I don’t even know what I do,” he laughed. “It’s just amped up blues. I’ve got rock and roll in my blood. That’s the way I was brought up. It’s just in me, and I’ve go to get that out.” He has toured with such greats as Roger Alan Wade, and Hank Williams III. And he has shared the stage with many others including a highlight moment with the one and only Leon Russell. “I could have ended my career right there and been fine,” he remembered. Husky gets all that pent up rock and roll out on current project, Tales From East End Blvd. The album features guest appearances from Shooter Jennings and Grammy nominees Billy Don Burns and Aaron Rodgers, among others. To find out more, vivit www.huskyburnett.net
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December 2015
Music From The National Scene
Music From Your Neighbors
welcome to another edition
of SPINS! Feast your ears on all this ear candy! (in no special order) - This collection will keep you busy for a while - Wow! Grab your iPad or Smart Phone and dial up some of these fine folks. We bet you’ii love them all like we do! The end of the year is upon us, but it’s not the end of great music for sure. Enjoy! www.AmericanaRhythm.com. Uncle Woody, The Spin Doctor PO Box 45 Bridgewater, VA 22812
Big Virginia Sky Big Virginia Sky
Butchers Blind A Place In America
Joe Ely Panhandle Rambler
www.butchersblind.com
www.ely.com
NY’s Butchers Blind, with their Americana roots sound, is back with number four; A Place In America. They are the definition of authentic Americana with their solid lyrics and folk/rock rhythms. Treat yourself to listen
Iconic “Roadhouse Rocker” Joe Ely returns with his first studio album in over four years. Another fine example of authentic Americana, Texas style. Ely was recently dubbed 2016 Texas State Musician. Go Joe!
Flatt Lonesome
From The Mountain Top Of The Appalachians The New Appalachians
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Runaway Train
www.bigvirginiasky.com
www.flattlonesome.com
Founded in 2012, this bluegrass infused Americana band is making a fast name for themselves. Pushing the grass boundries, and adding a little precussion is the mix for this hot group. Their self titled debut is chocked full of great music.
Wow! We could stop there. While musical talent is critical for success, vocal marksmenship is paramount. And the gang from Flatt Lonesome have some of the top vocals in bluegrass right now - in our opinion. This new CD is game on
Tim O’Brien Pompadour
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The Lonesome Ace Stringband Old Time www.lonesomeace.com
Darin & Brooke Aldridge Snapshots www.darinandbrookealdridge.com
Appalachian folk songs and fiddle/banjo tunes are the recipe for the three fellas that make up The Lonesome Ace String band. Old Time, is their debut (recorded live). It’s mighty good guys!
This chart topping and award winning husband and wife duo have made a fast name for themselves in the Americana circut. Their latest, Snapshot, is proving to be another obvious success for the young pair
Donna Ulisse Hard Cry Moon
Ash Breeze The Road’s Not Easy
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www.donnaulisse.com
www.ashbreezeband.com
A collaboration of musical talent from various groups including vocalist Noah Wall (Bearfoot Movement) gather around one mic for this supurb collection of traditional Appalachian string music. If you like that, you’ll dig this
Veteran Nashville songwriter Donna Ulissee’s new CD, Hard Cry Moon, is making waves fast, and it’s easy to see why. Strong vocals, and creative storytelling, backed by solid musicians makes this latest CD one to add to your collection for sure
This family band from Fayetteville, North Carolina started out pursuing classical music. We’re sure glad they made the switch. Led by the strong vocals of sister Nelly Grace, the Smith family’s future looks bright indeed
Low Lily Low Lily
Buds Collective Buds Collective
Shawn Mullins My Stupid Heart
Rhonda Vincent
www.timobrien.net
www.lowlily.com
www.budscollective.com
www.shawnmullins.com
www.rhondavincent.com
Songwriter Tim O’Brien is a festival fave for many - and O’Brien fans will be pleased with the latest from this multiaward winning bluegrassfolk-singer-songwriter. Pompadour is Tim’s first solo record in four years; worth the wait though. Good stuff
After undergoing a name change (formally Annalivia), Low Lily is back with their latest self titled EP. The trio has a unique folk/roots flavor that’s sure to capture your attention. Hear influences from Celtic to Old Time, and more.
Pickers and singers from the hills of West Virginia, Buds Collective caused many of us to take notice at the 2015 IBMA. From originals, to covers of hits from Kenny Rogers and Doc Watson, their spin makes it super saucy
Co-writer of the Zac Brown hit, “Toes,” Shawn Mulllins brings years of music and life to his latest project, My Stupid Heart. As much a biography as any other of his works, this latest is quite the listen. We like it alot
What’s Christmas without a new Christmas CD to add to your collection. And why not one from the queen of bluegrass, Rhonda Vincent. This set of covers and originals will certainly warm your holiday spirit.
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www.chesky.com
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You can send new Americana CD releases for consideration to PO Box 45, Bridgewater, VA, 22812
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Christmas Time
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December 2015
2015
2015
Entertainer of the Year: The Earls of Leicester Female Vocalist of the Year: Rhonda Vincent Male Vocalist of the Year: Shawn Camp Vocal Group of the Year: Balsam Range Instrumental Group of the Year: The Earls of Leicester Song of the Year: “Moon Over Memphis,” Balsam Range Album of the Year: The Earls of Leicester, The Earls of Leicester Emerging Artist of the Year: Becky Buller Banjo Player of the Year: Rob McCoury Bass Player of the Year: Tim Surrett Dobro Player of the Year: Jerry Douglas Fiddle Player of the Year: Michael Cleveland Guitar Player of the Year: Bryan Sutton Mandolin Player of the Year: Jesse Brock 2015 Bluegrass Hall Of Fame: Bill Keith and Larry Sparks
Album of the Year: Down Where The Spirit Meets The Bone, Lucinda Williams Artist of the Year: Sturgill Simpson Duo Group of the Year: The Mavericks Song of the Year: “Turtles All The Way Down” Written by Sturgill Simpson Emerging Artist of the Year: Shakey Graves Instrumentalist of the Year: John Leventhal Lifetime Achievement Award, Trailblazer: Don Henley The Lifetime Achievement Award, Songwriting: Gillian Welch & David Rawlings Lifetime Achievement Award, Instrumentalist: Ricky Skaggs Lifetime Achievement Award, Performance: Los Lobos President’s Award: BB King
Source: www.IBMA.org
Source, www.americanamusic.org
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